“THE COUNT OF MONTE CRISTO” (1975) Review

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“THE COUNT OF MONTE CRISTO” (1975) Review

There have been numerous adaptations of Alexandre Dumas père’s 1844 novel, “The Count of Monte Cristo”. I have seen at least three adaptations – two theatrical releases and a television movie. I had just recently viewed the latter, which aired on British television back in 1975, on DVD. 

“THE COUNT OF MONTE CRISTO” begins in 1815 with the return of merchant sailor Edmond Dantès to his home port of Marseilles in order to marry his Catalan fiancée, Mercédès Herrera. Before dying during this last voyager, Edmond’s captain Leclère charges Dantès to deliver a letter from Elba to an unknown man in Paris. On the eve of Dantès’ wedding to Mercédès, Dantès’ colleague Danglars, who is jealous of Edmond’s promotion to captain, advises Edmond’s friend Fernand Mondego to send an anonymous note accusing Dantès of being a supporter of the recently exiled Napoleon Bonaparte. Fernand is open to the suggestion due to his own jealousy of Edmond’s engagement to Mercédès, whom he also loves. Edmond is arrested and interrogated by the local chief deputy prosecutor Gérard de Villefort. De Villefort is willing to release Edmond when he realizes that the latter is innocent of being a Bonapartist. But when he discovers that Edmond was charged in delivering a letter to his own father, another Bonapartist, de Villefort has Edmond sent to the Château d’If prison without a trial.

During his fourteen year imprisonment, Edmond meets a fellow prisoner named Abbé Faria, who gives the former a former education. When Faria finds himself on the verge of death, he informs Edmond about a treasure located on the Italian island of Monte Cristo. When Faria dies, Edmond takes his place in the burial sack and makes his escape from the Château d’If. After acquiring the Monte Cristo treasure, Edmond sets about seeking revenge against the three men responsible for his imprisonment.

Many literary and movie fans have complimented this adaptation as being “faithful” to Dumas’ tale in compare to many others. I am a little more familiar with the 1845 novel than I was several years ago, when I had reviewed both the 1934 and 2002 adaptations. Which means I am quite aware that this adaptation is no more faithful than the others. But this did not bother me . . . somewhat. I have one or two issues that I will discuss a bit later. But overall, I found this adaptation, which was produced by a British television production company called ITC Entertainment, both satisfying and entertaining. I realize that my last description of the movie seems slightly tepid. Trust me, I do not regard this adaptation as tepid. It truly is quite good. I thought director David Greene and screenwriter Sidney Carroll provided television audiences with a lively and intelligent adaptation of Dumas’ tale.

Both Greene and Carroll did an excellent job of maintaining a steady pace for the film’s narrative. Starting with Edmond’s return to Marseilles before Napoleon’s Hundred Days return to power, to his fourteen year incarceration inside the Château d’If, and his discovery of the Monte Cristo treasure; I can honestly say that this television movie did not rush through the narrative. Well, most of it. This steady pacing seemed especially apparent in Dantes’ elaborate plots to exact revenge against Mondego, Danglars and de Villefort. However . . . there were aspects of Dumas’ narrative that could have stretched out a bit and I will focus on that later. Greene and Carroll also did a solid job in conveying how those fourteen years in prison, along with his desire for revenge had an impact upon his personality. This topic was not explored as much as I wish it had been, but it was featured in the film’s plot.

I do have a few complaints. Like the 1934 movie, this television movie featured the character of Haydée, the daughter of a pasha who had been betrayed and murdered by Ferdinand Mondego and one of Edmond’s major allies. In the novel, Haydée became Edmond’s lover by the story’s end. In this television movie, she is basically an ally who was limited to two scenes. I suspect that the character’s North African background made the producers unwilling to to be faithful to Dumas’ novel and give Isabelle De Valvert, who had portrayed Haydée, more screen time, aside from two scenes. Pity. Speaking of Edmond’s love life, I noticed that once he became the Count of Monte Cristo, Richard Chamberlain and Kate Nelligan, who portrayed Mercédès Mondego, barely shared any screen time together. In fact, it seemed as if Edmond barely thought about Mercédès. So when the film ended with him rushing toward Mercédès to declare his never ending love for her, it seemed so false . . . and rushed. I do not recall seeing any build up to this scene.

One must remember that “THE COUNT OF MONTE CRISTO” is not only a drama, but also a swashbuckler. And that means action sequences. There were not that many in the movie, but there were a few memorable moments. The final action sequence featured a duel between Edmond and his former friend, Mondego. It never happened in the novel, but I found it interesting to watch a duel between two former onscreen swashbucklers – Richard Chamberlain and Tony Curtis. It was . . . decent. But if I must be honest, I was more impressed by the duel between Carlo Puri and Alessio Orano, who portrayed Andrea Benedetto (a person set up by Edmond to be a part of de Villefort’s past) and Alessio Orano, who portrayed a former cowardly neighbor of Edmond named Caderousse. Neither duel was particularly long, but I found the Benedetto-Caderousse duel to be more physical and exciting.

I have mixed views of the movie’s production values. On one hand, I found myself very impressed by Walter Patriarca’s production designs and Andrew Patriarca’s art direction. I thought both did an excellent job of utilizing the film’s Italian locations to re-create early 19th century France and Italy. I was also impressed by Aldo Tonti’s solid photography for the film. I found it clear and somewhat colorful. My feelings regarding the film’s costumes are not as positive. I noticed that there is no costume designer named for the film. Instead, Luciana Marinucci was hired as the costume/wardrobe “supervisor”. This makes me wonder if a good deal of the film’s costumes came from warehouses in Italy. A good deal of the fabrics used for movie’s costumes struck me as questionable. Cheap. And quite frankly, I found this somewhat disappointing for a first-rate movie like this. I also found the hairstyle worn by actress Taryn Power, as shown in the image below:

It bore no resemblance to the hairstyles worn by women during the early 1830s.

I certainly had no complaints about the film’s cast. All either gave solid or excellent performances. The movie boasted solid performances from the likes of Anthony Dawson, Angelo Infanti, Harold Bromley, George Willing, Alessio Orano, Taryn Power, Dominic Guard, Dominic Barto and Isabelle De Valvert. Although I have a high regard for Kate Nelligan as an actress, I must admit that I was not that overly impressed by her performance as Mercédès Mondego. I thought it was solid, but not particularly mind blowing. It seemed as if she really had not much material to work with, aside from those scenes that featured Edmond’s arrest and her final scene.

But thankfully, “THE COUNT OF MONTE CRISTO” does boast some excellent and memorable performances. One came from Carlo Puri, who gave a very charismatic performance as Andrea Benedetto, a former galleys convict used by Edmond in his scheme against Gérard de Villefort. Speaking of the latter, Louis Jordan was superb as the ambitious prosecutor who was responsible for Edmond’s incarceration in the first place. I was especially impressed by his performance in the scene that featured the revelation about the illegitimate son he had tried to kill years earlier. Another superb performance came from Donald Pleasence as Danglars. I thought he did an excellent job in transforming his character from a resentful and jealous seaman into the greedy banker. Trevor Howard earned a well deserved Emmy nomination for his portrayal of Edmond’s mentor, the imprisoned former soldier-turned-priest. I found his last scene especially poignant to watch. This was probably the first production in which I saw Tony Curtis portray a villain.   And I thought he gave an excellent performance as the broodingly jealous Ferdinand Mondego, who seemed to have no qualms about destroying others for the sake of his feelings and his ambitions. “THE COUNT OF MONTE CRISTO” proved to be Richard Chamberlain’s second (or third) production that was an adaptation of an Alexandre Dumas père novel. Like Howard, he had earned a well deserved Emmy nomination for his portrayal of the revenge driven Edmond Dantès. Chamberlain did a superb job in conveying the growing development of Edmond’s character from the clean-cut, yet ambitious young seaman, to the long-suffering prisoner wallowing in despair and finally, the cool and manipulative man, whose desire for vengeance had blinded him from the suffering of other innocents.

In the end, I have some problems with certain aspects of “THE COUNT OF MONTE CRISTO”, including the portrayal of some characters , a few changes in the narrative’s ending and some of the costumes. Despite them, I can honestly say that I enjoyed the television movie and thought it did a fine job adapting Alexandre Dumas père novel. And this is due to Sidney Carroll’s well-written screenplay, David Greene’s solid direction and an excellent cast led by the always superb Richard Chamberlain.

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Favorite Movies Set in OLD HOLLYWOOD

Below is a list of my favorite movies set in Hollywood’s past, before 1960: 

FAVORITE MOVIES SET IN OLD HOLLYWOOD

1. “Singin’ in the Rain” (1952) – Gene Kelly, Donald O’Connor and Debbie Reynolds starred in this musical classic about Hollywood’s transition from silent films to talkies. Kelly co-directed with Stanley Donen.

2. “Who Framed Roger Rabbit?” (1988) – Robert Zemeckis directed this adaptation of Gary Wolfe’s 1981 novel, “Who Censored Roger Rabbit?”, in which a 1940s private detective who must exonerate a cartoon star “Toon” for the murder of a wealthy businessman. Bob Hoskins, Charles Fleischer and Christopher Lloyd starred.

3. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as producer David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

4. “The Aviator” (2004) – Martin Scorsese produced and directed this biopic about mogul Howard Hughes’ experiences as a filmmaker and aviator between 1927 and 1947. Oscar nominee Leonardo DiCaprio starred.

5. “Hitchcock” (2012) – Anthony Hopkins and Helen Mirren starred in this comedy-drama about the tumultuous marriage between director-producer Alfred Hitchcock and screenwriter Alma Reville during the former’s making of his 1960 hit, “Psycho”. Sacha Gervasi directed.

6. “Trumbo” (2015) – Oscar nominee Bryan Cranston starred in this biopic about screenwriter Dalton Trumbo and his troubles after being jailed and blacklisted for being a member of the Communist Party. Directed by Jay Roach, Diane Lane and Helen Mirren co-starred.

7. “The Bad and the Beautiful” (1952) – Vincente Minelli directed this melodrama about the impact of a Hollywood producer on the lives of three people he had worked with and betrayed. Kirk Douglas, Lana Turner, Barry Sullivan and Dick Powell starred.

8. “Hollywoodland” (2006) – Adrien Brody, Diane Lane and Ben Affleck starred in this intriguing tale about a private detective’s investigation into the life and death of actor George Reeves. Allen Coulter directed.

9. “Hail, Caesar!” (2016) – Ethan and Joel Coen produced and directed this fictional account in the life of studio executive/fixer, Eddie Mannix. The movie starred Josh Brolin.

10. “The Artist” (2011) – Michel Hazanavicius wrote and directed this Academy Award winning movie about a silent screen star and the disruption of his life and career by the emergence of talking pictures. Oscar winner Jean Dujardin and Oscar nominee Bérénice Bejo starred.

Favorite Episodes of “UNDERGROUND” (2016-2017)

Below are images of my favorite episodes from the WGN series, “UNDERGROUND”. Created by Misha Green and Joe Pokaski, the series stars Jurnee Smollett-Bell and Aldis Hodge: 

FAVORITE EPISODES OF UNDERGROUND (2016-2017)

1 - 1.05 Run and Guns

1. (1.05) “Run & Gun” – The attempt by the escapees from the Macon plantation to catch a northbound train out of the state is complicated at every turn; while Tom and Susanna Macon have the remaining slaves – especially Pearly Mae, who was captured while trying to run – questioned about their plans.

3 - 1.04 Firefly

2. (1.04) “Firefly” – A notorious slave hunter named August Pullman and his son Ben track Noah and Rosalee, following their escape from the Macon plantation at the end of the previous episode. The other slaves involved in Noah’s plot contemplate running, as well. Meanwhile, John and Elizabeth face a lethal predicament, when one of the runaways they are sheltering turns hostile.

3. (2.03) “Ache” – Underground Railroad conductor/Macon 7 fugitive slave Rosalee struggle to evade Patty Canon’s slave catching band. Her mother Ernestine is haunted by her past, while adjusting to her new role as a field hand on a South Carolina Sea Island plantation.

2 - 1.09 Black and Blue

4. (1.09) “Black & Blue” – One of the escapees, former house slave Rosalee, is captured in a small Kentucky town and held at a slaughter house, while fellow escapees Noah and Cato plot to rescue her. Underground Railroad agent John Hawkes (who is also Tom Mason’s brother) learns of his wife Elizabeth’s reckless action to save the orphaned escapee Boo from her ex-fiancé and U.S. Federal Marshal Kyle Risdin.

5 - 1.01 Macon Seven

5. (1.01) “The Macon 7” – In the series premiere, Noah begins to plot an escape from the Macon plantation to the Ohio River and free states. He contemplates on choosing which slaves to be included in his plan, while dealing with a hostile Cato, who also happens to be one of the plantation field drivers.

Honorable Mention: (2.08) “Auld Acquaintance” – When Rosalee’s plan to rescue her younger brother James from the Macon plantation fails in the previous episode, (2.07) “28”, fellow Macon 7 fugitive Noah struggles to form a new plan to save sister and brother. Ernestine’s attempt to escape from the South Carolina plantation is thwarted by slave catcher August Pullman.

 

“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” (2018) Review

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“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” (2018) Review

Following the success of the 2016 movie, “FANTASTIC BEASTS AND WHERE TO FIND THEM”, Warner Brothers Studios and author J.K. Rowling continued the adventures of former Hogwarts student, Newt Scamander with the 2018 sequel called “FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD”. Starring Eddie Redmayne, the movie was directed by David Yates. 

“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” began in 1927, less than a year after the events of the 2016 movie. In the film’s opening, the Magical Congress of the United States of America (MACUSA) is transferring the powerful dark wizard Gellert Grindelwald from their maximum security prison in New York City to London. The latter is be tried for his crimes in Europe. But with the aide of Grindelwald’s follower, MACUSA agent Abernathy, the wizard manages to escapes during the transfer. Three months after Grindelwald’s escape, magizoologist Newt Scamander appeals to the Ministry of Magic in London to restore his revoked international travel rights following his previous adventures in New York City. While at the Ministry, Newt learns that his former Hogwarts classmate, Leta Lestrange, is engaged to his brother Theseus, an auror in the Department of Magical Law Enforcement. The Ministry offers to restore Newt’s travel rights if he assists Theseus in locating Credence Barebone, the American obscurial believed to have been killed in Paris. He has been detected in Paris.

Grindelwald is also searching for Credence. He believes that only the latter is powerful enough to kill his “equal”, Hogwarts Professor Albus Dumbledore. Newt declines the Ministry’s offer, but is is secretly summoned by Dumbledore, who also tries to persuade Newt to locate Credence. Dumbledore under constant Ministry surveillance for refusing to confront Grindelwald, who was a former close friend from the past. Upon his return home, he discovers that his American friends, the non-magical Jacob Kowalski and witch Queenie Goldstein had left New York. Jacob has retained memories of his past adventures with Newt and the Goldstein sisters, despite MACUSA’s citywide Obliviation order. Queenie and Jacob had followed Queenie’s sister Tina to Europe, where the latter is searching for Credence. Newt also discovers that Queenie has enchanted Jacob into eloping to Europe with her to circumvent MACUSA’s marriage ban between wizards and Muggles. After Newt lifts the charm, Jacob and Queenie quarrel about the marriage law, and the upset witch leaves to find Tina. Newt ignores the Ministry’s travel ban and with Jacob, head for Paris in search for the Goldstein sisters and Credence.

“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” proved to be an unpopular entry in the HARRY POTTER movie franchise. Even a year before the film’s release, many had criticized the film’s producers, including J.K. Rowling, for allowing actor Johnny Depp to take over the role of Gellert Grindelwald in the wake of his controversial divorce. Ironically, once “THE CRIMES OF GRINDELWALD” hit the movie theaters, both the critics and many moviegoers expressed other reasons for their displeasure. Either these criticisms were merely used as shields to hide their displeasure at Depp’s presence in the movie, or they genuinely did not like it. Although “THE CRIMES OF GRINDELWALD”actually managed to make a profit, it did not make as much as its 2016 predecessor. Nor did it make as much as Warner Brothers Studios had anticipated. So . . . how did I feel about the movie?

I will admit that I have some problems with “THE CRIMES OF GRINDELWALD”. I never admitted this in my review of “FANTASTIC BEASTS AND WHERE TO FIND THEM”, but I had noticed Rowling’s habit of creating two or more disjointed story lines and allowing them to connect near the end of the film. As much as I admired her use of this narrative structure, I must admit that there were times when I found it frustrating. To be honest, I found it more frustrating in “FANTASTIC BEASTS AND WHERE TO FIND THEM”, especially Newt Scamander’s search for his missing animals. But in “THE CRIMES OF GRINDELWALD”, there were times when I found myself wondering why Rowling had focused so heavily on Leta Lestrange’s character arc/backstory and Queenie Goldstein’s problems with her non-magical love, Jacob Kowalski. I also had a problem with Colleen Atwood’s costumes. On one level, I found her costumes very attractive, as shown in the images below:

And yet . . . aside from the costumes and hairstyle worn by actress Katherine Waterston, I found the other costumes and hairstyles reminiscent of the early 1930s, instead of 1927, the film’s actual setting. Speaking of the timeline, could someone explain why Minerva McGonagall was a teacher at Hogwarts School of Witchcraft and Wizardry, when either the Harry Potter novels or the franchise’s official website made it clear that she was born in 1935, eight years after this movie’s setting. And since Dumbledore was the Transfiguration professor at Hogwarts in 1927, what was the young Professor McGonagall teaching?

“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” had its flaws, like any other movie. But I enjoyed it very much. Actually . . . I enjoyed it slightly more than I did the 2016 movie. The reason why I enjoyed it more than the first film is probably the reason why many others liked it less. J.K. Rowling had written an emotionally complicated tale that reminded me that humans beings are a lot more ambiguous than many are STILL unwilling to admit. They might pay lip service to the ambiguity of humans, but I have encountered too much hostility directed at movies willing to explore the complex nature of humans and society in general . . . especially in pop culture films. Some might claim that such ambiguity has no place in pop culture films and franchises. My response to that claim is . . . why not? I see no reason why humanity’s ambiguity should only be tolerated in films being considered for the film industry’s award season.

I noticed in “THE CRIMES OF GRINDELWALD” that the majority of Gellert Grindelwald’s followers were not “dark wizards” or superficially evil. I must admit that the Vinda Rosier, Grindelwald’s loyal right-hand follower, seemed to be the film’s closest example of the future Deatheaters that followed Lord Voldemort aka Tom Riddle Jr. Most of Grindelwald’s other followers seemed to be typical human being who has allowed his or her emotions to indulge in the usual prejudices or make bad choices. One example is the MACUSA agent Abernathy, who had earlier supported President Seraphina Picquery in the 2016 film. But the prime example in “THE CRIMES OF GRINDELWALD” proved to be Queenie Goldstein, the New York-born Legilimens (telepath), who out of her desperation to be with the non-magical Jacob Kowalski, turned to Grindelwald to help her achieve her desire. Many fans had condemned the movie for this portrayal of Queenie. And I do not understand why.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” had already hinted Queenie’s desperation to be with Jacob, when she conveyed reluctance to follow MACUSA President Seraphina Picquery’s orders to ensure the erasure of his recent memories. She broke the rules even further by paying a visit to Jacob’s new bakery in one of the film’s final scenes.More importantly, Queenie had discovered that Jacob had retained some memories of his adventures with her, Tina and Newt. This is why I am not surprised that Queenie had resorted to desperate measures in “THE CRIMES OF GRINDELWALD” to make Jacob her husband. Love might lead a person to do wonderful things. But it can also lead someone to make questionable or terrible decisions. J.K. Rowling understood this. I never understood why so many people were incapable of doing so.

The ironic thing about “FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” is that the movie not only featured former protagonists like Queenie Goldstein and Agent Abernathy, who had decided to follow Grindelwald, it also featured . . . Leta Lestrange. Any fan of Potterverse will remember another character with the Lestrange name – Voldemort follower Bellatrix Lestrange. Although Bellatrix had married into the Lestrange family, fans learned that her husband was another one of Voldemort’s highly murderous and faithful followers. I do recall that the 2016 film may have hinted that Leta was briefly as someone from Newt’s past who may or may not have deliberately led him into trouble and expelled from Hogwarts. Thanks to “THE CRIMES OF GRINDELWALD”, audiences learned that Leta was NOT someone who lived up to her pure-blood family’s name and who proved to be a different kettle of fish. She was not perfect. Her one crime . . . which led to years of guilt . . . stemmed from resentment toward her father’s sexist desire for a male heir. As a young girl aboard a sinking ocean liner headed for the United States, she made an ugly decision that affected both her family and Credence Barebone.

The characterizations of both Queenie Goldstein and Leta Lestrange, along with Gellert Grindelwald’s followers made J.K. Rowling’s intent to continue her ambiguous portrayal of the Wizarding World of Harry Potter. But instead of viewing this ambiguity from a growing child, audiences get to witness this ambiguity through the eyes of an adult. Instead of realizing that individuals we might perceive as “bad” can also possess decency within, Rowling seemed to be hinting that those whom we might originally perceive as “good or decent” can allow their emotions to make terrible choices or embrace evil. Granted, fans learned in the previous series that Albus Dumbledore had once skated on the edge of giving into some parts of his baser nature. But through characters like Queenie Goldstein and Agent Abernathy, agents get to see how originally perceived “decent” characters can allow their emotions and desires to embrace evil . . . not for any moral good, but due to their own selfishness or prejudices. It is a pity that so many are unwilling to explore this journey with Rowling.

Although I had criticized the film’s costumes for resembling the fashions of the early 1930s, instead of the late 1920s, I must admit that I found Colleen Atwood’s designs very attractive and very original. I rarely comment on a film’s editing, but I found Film Editor Mark Day’s work in the movie first-rate. I was especially impressed by his work in two particular sequences – Grindelwald’s escape in the film’s first action sequence and another one featuring a wizarding freak show in Paris. I was also impressed by Philippe Rousselot’s cinematography . . . to a certain extent. Rousselot’s photography struck me as beautiful and memorable – especially in the Parisian scenes and one particular flashback scene in the Atlantic Ocean. But I really disliked the monochromatic tones (blue, yellow or green) that seemed to dominate the movie’s photography . . . as much as I disliked the brown tones that dominated “FANTASTIC BEASTS AND WHERE TO FIND THEM”. Also, production designer Stuart Craig, set designer Anna Pinnock, the art direction team led by Martin Foley and the special effects team all did an exceptional job to re-create the wizarding worlds of New York, London, Scotland and Paris.

“FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD” featured some first-rate performances. Lead actor Eddie Redmayne, Katherine Waterston, Dan Fogler, Carmen Ejogo, Claudia Kim and Ezra Miller all gave excellent performances. But there were performances that I found more than first-rate. Jude Law was superb as the enigmatic and younger Professor Albus Dumbore, who seemed warm and manipulative as ever. William Nadylam gave a very complex and passionate performance as Yusuf Kama: A French-Senegalese wizard who has spent many years obsessively searching for Credence, whom he believed was responsible for the death of a family member. Callum Turner’s portrayal of Theseus Scamander, Newt’s brother, first seemed pretty solid. But his performance became more complex and interesting, thanks to Turner’s skillful acting. Alison Sudol gave an outstanding performance as the increasingly desperate Queenie Goldstein, who allowed her love for Jacob and emotions to lead to a morally questionable decision. Zoë Kravitz was equally outstanding as Newt’s former love, Leta Lestrange, who became emotionally troubled and confused over a morally questionable decision from the past. But the best performance, in my opinion, came from Johnny Depp, who portrayed the film’s main villain, Gellert Grindelwald. Depp’s Grindelwald seemed like a completely different kettle of fish from the more obvious villains of the Harry Potter novel. More subtle, subversive and manipulative. Insidious. The franchise’s Palpatine perhaps? Honestly, Depp’s Grindelwald made Tom Riddle Jr. aka Lord Voldemort seem like a rank amateur as far as villains go.

This 2018 sequel to “FANTASTIC BEASTS AND WHERE TO FIND THEM” proved to be a disappointment at the box office. Between the controversy over Depp’s casting and the hostile reaction to the Queenie Goldstein character, I guess I should not be surprised. But I am disappointed that the majority of moviegoers had failed to appreciate Rowling’s story, because I thought it was first-rate, thanks to her screenplay, David Yates’ direction and the excellent cast led by Eddie Redmayne. To be honest, I personally feel that it was slightly better than its 2016 predecessor. Perhaps one day, more filmgoers will be able to appreciate it.

 

Favorite Television Productions Set in the 1930s

Below is a list of my favorite television productions (so far) that are set in the 1930s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1930s

1. “Agatha Christie’s Poirot” (1989-2013) – David Suchet starred as Agatha Chrsitie’s most famous sleuth, Hercule Poirot, in this long-running series that adapted her Poirot novels and short stories.

2. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

3. “Edward & Mrs. Simpson” (1978) – Edward Fox and Cynthia Harris starred the 1978 adaptation of the events leading to the 1936 abdication of King Edward VIII of Great Britain. The seven-part miniseries was based upon Frances Donaldson’s 1974 biography.

4. “Mildred Pierce” – Todd Haynes directed and co-wrote this television adaptation of James M. Cain’s 1940 novel about a middle-class divorcee, who struggles to maintain her family’s position during the Great Depression and earn her narcissist older daughter’s respect. Emmy winners Kate Winslet, Guy Pearce and Emmy nominee Evan Rachel Wood starred.

5. “Upstairs, Downstairs” (2010-2012) – Heidi Thomas created this continuation of the 1971-1975 series about the Hollands and their servants, the new inhabitants at old Bellamy residence at 105 Eaton Place. Jean Marsh, Keely Hawes, Ed Stoppard and Claire Foy starred.

6. “And Then There Were None” (2015) – Sarah Phelps produced and wrote this television adaptation of Agatha Christie’s 1939 novel. Craig Viveiros directed.

7. “The Last Tycoon” (2016-2017) – Billy Ray created this television adaptation of F. Scott Fitzgerald’s unfinished novel about a Hollywood producer during the mid-1930s. Matt Bomer starred.

8. “Indian Summers” (2015-2016) – Paul Rutman created this series about the British community’s summer residence at Simla during the British Raj of the 1930s. The series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Walters.

9. “Damnation” (2017-2018) Tony Tost created this series about the labor conflicts in the Midwest, during the Great Depression. Killian Scott and Logan Marshall-Green starred.

10. “The Lot” (1999-2001) – This series centered around a fictional movie studio called Sylver Screen Pictures during the late 1930s. The series was created by Rick Mitz.

“DRAGONWYCK” (1946) Review




“DRAGONWYCK” (1946) Review

Being an aficionado of old Hollywood period dramas, I noticed that it was rare to find movies set in the antebellum North. Very rare. I have tried to think of how many of these films I have come across. And to be honest, I can only think of four or five so far, in compare to the numerous films set in the antebellum South. One of those Northern antebellum tales proved to be the 1946 movie, “DRAGONWYCK”

Based upon Anya Seton’s 1944 novel, adapted by Joseph L. Mankiewicz and directed by him; “DRAGONWYCK” began in 1844 Greenwich, Connecticut; when Miranda Wells, the daughter of a religious farm couple, receives a letter from distant cousin Nicholas Van Ryn. Nicholas, the autocratic and charming owner (Patroon) of a Hudson River Valley estate called Dragonwyck, asks if one of Ephraim and Abigail’s daughters could act as governess for his eight year-old daughter, Katrine. Miranda, who daydreams about a more romantic and luxurious lifestyle, manages to convince her doubting parents to let her go.

Upon her arrival at Dragonwyck, Miranda meets the young Katrine and Nicholas’ wife, a gluttonous, yet slightly high-strong woman named Johanna. She also meets the handsome local doctor, Dr. Jeff Turner, at the “kermess” – a ceremony where landowner Nicholas receives the rents of his tenants. Not only does Miranda become aware of the strange atmosphere at Dragonwyck and the tense relationship between Nicholas and his tenants; she also finds herself falling in love with her cousin and employer . . . and he with her. This budding relationship between the pair proves to be quite disastrous for all concerned.

After my second viewing of “DRAGONWYCK”, I realized that I could never regard it as a personal favorite. The writing for some of the film’s supporting characters struck me as theatrical and one-dimensional. Unfortunately, I have to include the Ephraim Wells character, who came off as a clichéd version of the 19th century religious American male and Peggy, the young maid loyal to Miranda. During the film’s third act, the narrative revealed that Nicholas Van Ryn’s lack of religious belief. Was this supposed to cap his position as an immoral and villainous man? Because honestly . . . I realized that I could not care less about his lack of belief. And I found it ridiculous that his status as a non-believer was supposed to be a sign of his villainy. I understand. Perhaps the majority of moviegoers felt differently in 1946. Needless to say, this aspect of Nicholas’ character did not age well over the past 72 to 73 years. I was not that impressed by the film’s finale in which Nicholas had a showdown with his discontented tenants. Although it featured an excellent performance by Vincent Price, I found the actual sequence a bit anti-climatic. I noticed that the film’s ending was different from the one written by Anya Seton. However, I found Seton’s ending in the novel more dramatic, but somewhat ludicrous. I could see why Mankiewicz had changed the ending.

Although I could never regard “DRAGONWYCK” as a personal favorite of mine, I must admit that I found it to be a rather first-rate film. The movie – the story itself – struck me as a prime example of American Gothic literature. In fact, I would go as far to claim that the narrative almost reminds me of Charlotte Brontë’s 1847 novel, “Jane Eyre”, but with a darker twist. Unlike Brontë’s tale, “DRAGONWYCK” included the specter of murder and class conflict. The latter included the historical conflict known as the Anti-Rent War, in which tenants in upstate New York revolted and declared their independence from the manor system operated by patroons, by resisting tax collectors and successfully demanding land reform between 1839 and 1845.

One would think that the Miranda Wells character would be the narrative’s center or force. A part of me feels sad that I cannot make that claim. For the most interesting aspect of “DRAGONWYCK” proved to be the Nicholas Van Ryn character. Was he supposed to be a mere villain? If a person viewed him from how he had ended his marriage to the voracious Johanna, he or she could regard him as such. On the other hand, I found it difficult to regard his refusal to embrace his wife’s new-founded religious fervor as monstrous. Which meant that in the end, Nicholas became something of a repellent, yet fascinating character to me. A true force of nature. I wish I could have said the same about Miranda. I found her charming and extroverted, but after her marriage to Nicholas turned sour, she became something of an annoyance. Being the offspring of religious parents, I was not surprised that she eventually turned to religion. But I found it annoying that religious fervor was the only literary device used to develop her character and nothing else. Nicholas, on the other hand, proved to be a lot more complex.

A part of me wishes that “DRAGONWYCK” had been filmed in Technicolor. It would have been interesting to view Twentieth Century-Fox’s version of antebellum New York State in color. Especially the Hudson River Valley. I am not begrudging Arthur C. Miller’s cinematography. His work for the film’s interior shots, especially those for the Dragonwyck manor had provided a great deal of atmosphere, adding to the film’s Gothic narrative. But I was not that impressed by the exterior shots. I must admit that I have no memories of the film’s score by Alfred Newman. I thought Lyle R. Wheeler and J. Russell Spencer’s art direction, along with Thomas Little’s set decorations were excellent . . . especially for the Dragonwyck manor and New York City hotel’s interiors. However, I truly enjoyed René Hubert’s beautiful costume designs for the movie. Were they accurate examples of mid-1840s fashion? I have my doubts. But as the images below reveal, they were gorgeous:

 

I might as well focus on the movie’s actual performances. Were there any bad performances? No. “DRAGONWYCK” can honestly boast some solid or excellent performances. The supporting cast featured some solid performances from the likes of Harry Morgan as one of Nicholas’ angry tenants, Connie Marshall as Nicholas’ daughter Katrine, and Trudy Marshall as neighbor Elizabeth Van Borden. Future Oscar winner Jessica Tandy’s portrayal of Miranda’s Irish-born maid Peggy O’Malley struck me as a bit theatrical. I could also say the same about another future Oscar winner Walter Huston, who portrayed Miranda’s religious father Ephraim Wells. Anne Revere’s portrayal of Miranda’s mother Abigail Wells seemed a lot more subtle . . . and skillful. Spring Byington portrayed the Van Ryns’ manipulative and slightly creepy maid Magda. A part of me wondered if it was Mankiewicz or Seton’s intention to create a more benign version of the Mrs. Danvers character from “REBECCA”. Vivienne Osborne, on the other hand, gave a very skillful performance as Nicholas’ first wife, the gluttonous and insecure Johanna Van Ryn. I did not know whether to share Nicholas’ disgust for her or feel any sympathy toward her for being married to a creep.

I was prepared to dismiss Glenn Langan’s performance as the handsome local physician, Dr. Jeff Turner, who befriends Miranda. I had assumed that he would be another one of those bland leading men that the Hollywood system tried to transform into a movie star. After my recent viewing of “DRAGONWYCK”, I realized that Langan gave an interesting performance by skillfully conveying Jeff’s barely concealed anger toward Nicholas’ arrogance. However, my vote for the best performance would go to Vincent Price’s portrayal of Nicholas Van Ryn. I thought he gave a brilliant and dynamic performance as the arrogant, yet charismatic Nicholas, whose villainy proved to be rather enigmatic. Gene Tierney did an excellent job in carrying the film as the lead Miranda Wells. I was very impressed by her portrayal of the more ebullient and naive Miranda during the first two-thirds of the film. But once Miranda’s marriage to Nicholas began to fail, Tierney’s portrayal of the character fell flat. I do not blame her. I blame the manner in which the character had become one-dimensional, thanks to Anya Seton’s novel and Joseph Mankiewicz’s screenplay.

Overall, I rather enjoyed “DRAGONWYCK”. It was not perfect. No film is. But I was a little put off by some theatrical acting in the film, the decline of the Miranda Wells character and the writing overall during the movie’s final fifteen to twenty minutes. But I must admit I enjoyed most of the film’s narrative. Many would dismiss it as costume melodrama. Personally, I see no reason to dismiss melodrama. It can be appreciated, if written well like other forms of fiction. Thanks to Joseph Mankiewicz’s screenplay and direction, along with a competent cast led by Gene Tierney and Vincent Price; “DRAGONWYCK” proved to be more entertaining than I had previously surmised.

Top Favorite U.S. CIVIL WAR Novels

Below is a current list of my top favorite novels set during the U.S. Civil War: 

TOP FAVORITE U.S. CIVIL WAR NOVELS

1. “Love and War” (1984) by John Jakes – This is the second of a trilogy about two wealthy American families – the Hazards of Pennsylvania and the Mains of South Carolina – during the mid-19th century. This superb novel is about the two families’ experiences during the U.S. Civil War.

2. “The Beguiled” (1966) by Thomas Cullinan – A wounded Union soldier ends up in the care of the occupants of an all girls’ school in Virginia, during the Civil War; and ends up having an emotional impact on both students and teachers.

3. “The Killer Angels” (1974) by Michael Shaara – This historical novel about the Gettysburg Campaign during the summer of 1863 won the Pulitzer Prize For Fiction in 1975.

4. “The Titans” (1976) by John Jakes – This fifth novel in Jakes’ “Kent Family Chronicles” told the story of various members of the Kent family and their experiences during the first few months of the U.S. Civil War.

5. “Lincoln: A Novel” (1984) by Gore Vidal – Part of Vidal’s “Narratives of Empire” series, this novel told the story of President Abraham Lincoln’s presidency via the eyes of various historical figures.

6. “Freedom” (1987) by William Safire – This novel focused on the first two years of the U.S. Civil War via the eyes of historical figures as they grapple with the dilemmas of political morality raised by secession and war.

7. “Cold Mountain” (1997) by Charles Frazier – The author won the U.S. National Book Award for Fiction for this tale about a Confederate Army deserter during the last year of the Civil War who walks for months to return to the love of his life in North Carolina.

8. “Unto This Hour” (1984) by Tom Wicker – This novel recounted five long during the Second Battle of Bull Run campaign via several characters.

9. “The Last Full Measure” (2000) by Jeff Shaara – The author wrote this sequel to his father’s novel, “The Killer Angels”, about the last two years of the Civil War.

10. “Grant’s War” (1992) by Ted Jones – This novel proved to be an interesting take on the “mock documentary” in which an early 20th historian interviews several Civil War veterans on how General Ulysses Grant conducted the war.